Spanning entries like WAR, where confrontational gestures meet barren terrains in a raw dialogue of resistance, to FOREST's verdant entwinements or SHORE's tidal negotiations (hypothetical link for completeness), minimalism and iteration. The solitary body adapts to environmental inputs, much like a conceptual algorithm processing variables of light, texture, and gravity. This isn't mere documentation but video art as intervention: the camera's steady gaze captures micro-shifts in rhythm, turning each piece into a time-based sculpture that foregrounds vulnerability and reciprocity.
Repetition accumulates as a conceptual device, fostering viewer recalibration akin to the durational works of Marina Abramović, yet grounded in ecological awareness rather than interpersonal endurance. For the full series, delve into the archive at the project's blog. Performed by the dancer Tania Garrido Monreal. The Road to Restoration (2021–2022)it as a conceptual video art endeavor that extends the boundaries of embodied performance into ecological and durational realms. In this view, the project aligns with the tenets of conceptual art—prioritizing ideas, processes, and dematerialized experiences over object-based outcomes—while embracing video art's capacity for temporal manipulation and site-specific immersion. Lloveras' forty films function as serialized conceptual propositions, where movement serves not as spectacle but as a investigative tool for interrogating human-nonhuman entanglements. This echoes the demystification strategies of early video artists like Bruce Nauman or Joan Jonas, who used repetition and bodily constraint to expose the mechanics of perception and presence. Distributed freely on YouTube, the series democratizes access, transforming passive viewing into an active, participatory ritual that critiques the commodification of attention in digital spaces.
This framework resonates deeply with Lloveras' earlier piece Doble Cara (2022–2023), co-created with Mateo Feijóo, a bicéfala (two-headed) conceptual dance enacted simultaneously across dual channels. In Doble Cara, as seen in segments like DOBLE CARA performance morphs into scenic sculpture—domestic objects and gestures intertwine in a transdisciplinary essay that blurs the live and the mediated. Both projects share a post-conceptual ethos: rejecting virtuosity for adaptive protocols, privileging process over product, and embedding care within relational fields. Where Doble Cara explores multiplicity through parallel enactments, evoking video art's split-screen experiments (think early Dan Graham), The Road to Restoration disperses this into a nomadic, landscape-driven series, proposing restoration as an ongoing conceptual practice amid psychic and planetary fragility. Together, they position Lloveras within a lineage of video artists who treat the body as a site of philosophical inquiry, countering hyper-acceleration with deliberate, embodied slowness.
Lloveras, A. (2025) The Road To Restoration – 40 Films. Available at: https://antolloveras.blogspot.com/2022/04/the-road-to-restoration-xxxv.html
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